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                <h2>Artist Info</h2>
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<img src="<?php echo $data['rootUrl']; ?>global/images/person.jpeg" style="float:left; width:200px;height:300px;padding-right :15px;padding-left: 15px;padding-bottom: 15px;"/> 


                    <p style="padding-left: 20px;"><a style="padding-left:20px;"></a>Using carefully controlled lighting and composition,
                        I strive for a feeling of grace and elegance in all my work, especially in the figure studies.
                        I put a major emphasis on contours, textures and tonal values.
                        Some of the works express calm and serenity, while others show a dynamic tension in the poses and composition.
                        As a consequence of these goals,
                        most of my works are created in a studio environment where it is possible to closely control the composition and lighting.
                        Those non-studio images that I create are either special situations that coincide with my goals, or the result of my interest in nature, humor and the human condition. </p>
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                        Even in the most abstract pieces, it is the mood that matters. It is amazing to me how a model’
                        s inner spirit comes through in the images.
                        The ideal model is not necessarily anxious to pose, and is much more likely to be quiet and reserved rather than outgoing and flamboyant. </p>
                    <p style="padding-left: 20px;"><a style="padding-left:20px;"></a>
                      I owe a major debt to an my photography instructor, Mike Ivanitsky,
                      for both my technical expertise and my sense of composition and form. In addition, my artistic sense was influenced by Edward Weston.
                      However, the major inspiration for my images comes almost totally from within.</p>
                          <p style="padding-left: 20px;"><a style="padding-left:20px;"></a>
                    To me, my work is all about the completed image. I do not much enjoy taking the initial images. There is so much fine detail and concentration that goes into it. Just moving the lights six inches or having the model move her head an inch to the right can make all the difference in the finished image. I can spend hours trying to get everything just right to create the vision I see in my head.
                    The real joy comes from seeing the evolution to the finished piece and the effect it creates.</p>
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                   Historically, it had been impossible to get the fine quality of black that I cherish in my images from a digital print, and the resolution of film was not practically available using digital cameras.  In about 2002 it became possible in a digital print to exceed the quality of the black in a silver gelatin darkroom print. Switching to
                   digital printing has allowed me to optimize the quality of both the tonal values and the fine textures in my work. </p>

                       <p style="padding-left: 20px;"><a style="padding-left:20px;"></a>
                   My digital prints now exceed what can be achieved in the traditional darkroom, and digital
                   cameras can exceed the quality of medium format film.
                   In 2006 started shooting with a 34 megapixel medium format camera which produces image quality far in excess of 6x6 cm film,
                   and printing these images up to life size using Epson archival fine art printers. </p>



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